Some of the hymns called "Ambrosian" (nearly 100 in number) are beyond all question by Ambrose himself, and the rest probably belong to his time or to the following century. Four, those beginning "Aeterne rerum conditor" ("Dread Framer of the earth and sky"), "Deus Creator omnium" ("Maker of all things, glorious God"), "Veni Redemptor Gentium" ("Redeemer of the nations, come") and "Jam surgit hora tertia" ("Christ at this hour was crucified"), are quoted as works of Ambrose by Augustine. These, and others by the hand of the same master, have the qualities most valuable in hymns intended for congregational use. They are short and complete in themselves; easy, and at the same time elevated in their expression and rhythm; terse and masculine in thought and language; and (though sometimes criticized as deficient in theological precision) simple, pure and not technical in their rendering of the great facts and doctrines of Christianity, which they present in an objective and not a subjective manner. They have exercised a powerful influence, direct or indirect, upon many of the best works of the same kind in all succeeding generations. With the Ambrosian hymns are properly classed those of Hilary, and the contemporary works of Pope Damasus I. (who wrote two hymns in commemoration of saints), and of Prudentius, from whose _Cathemerina_ ("Daily Devotions") and _Peristephana_ ("Crown-songs for Martyrs"), all poems of considerable, some of great length--about twenty-eight hymns, found in various Breviaries, were derived. Prudentius was a layman, a native of Saragossa, and it was in the Spanish ritual that his hymns were most largely used. In the Mozarabic Breviary almost the whole of one of his finest poems (from which most churches took one part only, beginning "Corde natus ex parentis") was appointed to be sung between Easter and Ascension-Day, being divided into eight or nine hymns; and on some of the commemorations of Spanish saints long poems from his _Peristephana_ were recited or sung at large. He is entitled to a high rank among Christian poets, many of the hymns taken from his works being full of fervour and sweetness, and by no means deficient in dignity or strength. 5th and 6th centuries.